Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

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¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un linguag

Antek Walczak ░ Neanderthal Interface Guidelines

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Antek Walczak at Jenny’s



Artist: Antek Walczak
Venue: Jenny’s, Los Angeles
Exhibition Title: Neanderthal Interface Guidelines
Date: September 23 – November 5, 2016


Full gallery of images, press release and link available after the jump.
Images:
Images courtesy of Jenny’s, Los Angeles. Photos by Jeff McLane.
Press Release:
Following up on his exhibition of randomly-generated hexagon-shaped dye sublimation prints at Dominique Lévy, New York, Antek Walczak presents a new set of 36 hexagons for Jenny’s, Los Angeles, arranged together like a game board map. This time around the artist’s input is decidedly more present within the deployment of the automated texture-bombing processes, “trying to reassert a bit of author in all this.” In addition to the aesthetics of patterns, tiles, and mosaics, most of the same concerns about art, information, and trends are still in play.
What is the nature of content or individual style in today’s climate of accelerated artistic production in a crowded field? The little data in heads versus the big data of widely-applied algorithms. How to exit the confines of a trend-based view of technology and art that barely crawls out of the futurism of nineties rave culture, or gets easily transfixed by how kids adapt to different media device environments, without resorting to a stock techno-phobic paranoia? As well, a different question gets foregrounded in the new work. The prevalence of icons, symbols, and glyphs across the screen interfaces interacted with on a daily basis, and their basic shorthand command work equivalent to the first steps of written language. To communicate, at a glance, tallies of river cargo hauled on the Euphrates (c. 3100 BC), memorable recordings of mastodon hunts and campfires, what gets attention on the App Store.